Even under the best of circumstances, “religion” can be a slippery term. In Buddhist Sri Lanka (Ceylon), it is especially so. Anthropologists recognize a religious complex that includes spirit exorcism as well as orthodox Buddhism; yet in Sinhalese usage, the word for religion, agama, applies to the latter but specifically excludes the former. On the other hand, from a Western perspective, orthodox “doctrinal” Buddhism—rationalistic, atheistic, non-supernatural—hardly seems to qualify as religion by any ordinary definition of the English word or its European equivalents. Indeed, that has, historically, been one of the strong appeals of Buddhism to the West. However, the terminological problem is not a vital one. Though it is well to keep in mind the indigenous distinctions, the various beliefs and practices of Sinhalese Buddhists so blend into one another and are so overtly connected, ritually and ideologically, that they present themselves as an identifiable complex that has been conventionally and justifiably called “religious.”

The author reconstructs the religious idea and ritual that lie behind the “Songs of the Dead.” The three songs attributed to Empress Saimei in the Nihonshoki (nos. 119–121) are interpreted as sung by a dead person's spirit sailing to the nether world. They must have been handed down by the Asobi-be—shamans who appeased dead emperors' spirits—because these and other funeral songs in the Kojiki use similar verse forms. The Ryō no Shūge says that the Asobi-be's services involved two persons called Negi and Yoshi. Negi appeased the spirit who possessed Yoshi; the empress's songs must originally have been sung by Yoshi. The ritual behind the “Songs of the Dead” also helps us to understand the origins of Nō, especially of mugen nō, and to perceive the connection between Nō and the development of Kabuki in the early seventeenth century.

In Marathi literature, the issue of obscenity is more alive today than it ever has been during the last sixty years. Several new novels and short stories have been criticized during the last few years by the so-called defenders of morality as obscene, raw, or sexual. Both readers and critics are divided on this issue, and as more such novels and short stories are being published every year, many by prominent young writers, the reactions get more and more mixed. This new fictional writing is an attempt at depicting what may, within the context of Indian culture, be called unconventional themes, such as slum life, deviant behavior, and physical love.